how to draw 3d vsepr models
Learning
How to Create Your Ain Hand-Painted 3D Characters
Depict Your Weapons past Manuel Sitompul on Sketchfab Games have always been a large interest for me. As a child I spent the majority of my time exploring the story and worlds of Zelda, Pokémon and Rayman. I got so immersed in these worlds that I decided to start making
Games accept always been a big involvement for me. Every bit a child I spent the majority of my time exploring the story and worlds of Zelda, Pokémon and Rayman. I got so immersed in these worlds that I decided to starting time making my ain by playing with Game Maker and learning GML.
Yet, my first real game fine art experience started when I decided to written report Visual Art at Breda University of Applied Sciences. At school I learned about the many sides of game art, such as: procedural modeling, 3D blitheness, standard asset creation and engine implementation. Experiencing this provided me with a good base to first making my own projects.
The Motivation
The journey started when I participated in a competition hosted by Yekaterina Bourykina. The challenge was to create a hand-painted graphic symbol bust. I ended up winning the competition and gaining tons of experience with hand-painting!
My Thoughts and Goals
After the 3D bust was received so well, I wanted to set up the bar higher and create a full character. I'g a big fan of Jake Wyatt and his Necropolis comic, so I decided to create the protagonist from the comic.
The biggest thing I wanted to blast in this project was the emotion. The girl is a ferocious character filled with rage, which she eventually demonstrates by slaughtering a bunch of bad guys. Those kinds of emotions aren't easy to translate into a 3D model, but I took information technology equally a challenge.
Sculpting the Character
I started the character past creating a block-out in ZBrush. Creating quick blobs in the shape of a human allowed me to establish the anatomy and manner pretty quickly.
I continued past Dynameshing the block-out and refining the basic shapes of the trunk. Calculation muscular item wasn't a priority because it was non even so determined where the clothing pieces would embrace up the trunk. Additionally, I didn't need to sculpt very detailed, because the sculpt would but be used for a diffuse bake which I could paint over.
While sculpting the face, it was very helpful to have some extra features in place, such as eyebrows, eyelashes and pilus. For the pilus I used a haircurves brush, edited by Chris Whitaker, chosen makkon_haircurves_03. For the eyelashes and other pieces of special geometry, I modeled information technology in Maya and put information technology in ZBrush. I advise anyone who is new to sculpting, if at that place'southward whatever task that seems easier in your preferred modeling software, information technology's probably worth it.
The girl from the comic has very dynamic and wrinkled clothing, and then it took me some experimentation to effigy out how to approach this problem. I started past creating a unproblematic dress in Marvelous Designer, which allows me to create realistic creases in the clothing.
In the end I decided to sculpt all the clothing except the brim. In this example I liked the amount of control I had past sculpting the folds by hand. Even though it isn't equally realistic equally a Marvelous Designer simulation, I could get away with information technology considering of the hand-painted nature of the project.
Using ZBrush to create the apparel was elementary, I took the base trunk, masked it, and used Subtool > Extract with a subtle Thickness. I continued by using the Standardbrush to paint some folds.
Retopologizing the Character
When the sculpt was finished, it was time to create a depression-poly version which I could broil the sculpt on. I merged all my subtools with Merge > Merge Visible. Unfortunately, Maya doesn't like a 12 million poly mesh, and so I had to decimate the mesh using Decimation Master to lower the poly-count a bit.
When the decimated model was in Maya, I made the object live, and used Quad Depict to draw the faces on the mesh. I used this technique to retopologize the entire character. I concluded upward connecting a lot of the wear to the skin, which would help me skin the character more easily, and result in less artifacts in blitheness.
Texturing the Character
I started this project to build some experience doing hand-painted textures. Similar my last paw-painted projection, I used 3D Coat considering of its dynamic link with Photoshop. 3D-Coat also allows me to brand projections of the 3D model, which I tin can paint over in Photoshop.
For this project, I decided on diffuse-merely textures, which means the concluding product will not interact with lighting in any way. This means all the shadows, reflections and highlights must be painted past hand.
To start off, I wanted to create some base colors and basic lighting. I imported my model into Substance Painter and baked the high-poly model on the low-poly. I connected by using an incredible smart-cloth called SoMuchDiffuse. This smart-material takes the loftier-poly sculpted data and bakes information technology downward into a single diffuse texture. Using this tool, I added base colors and gradients for every part of the character.
This is where the hand-painting starts. I continued by exporting the new diffuse texture and importing information technology into 3D-Coat. My painting procedure is very directly-forwards. My principal focus is always to add more than definition and highlight to the areas that I want the viewer to focus on. I started by painting lighter values fading from the middle of the face, which gives the face more than depth. Additionally, I tried painting a lot of unlike hues in the face up such as reds, greens and blues. I treat this process no different than painting a character in a second illustration.
The eyes in particular were fun to make! The vertex in the center of the eyeball is going inwards to create a parallax event. Additionally, there'southward a separate mesh for the cornea, on which I painted the eyes' reflection. Because at that place's altitude between the reflection and the pupil now, the eyes have much more depth.
Additionally, there's a separate mesh for the cornea, on which I painted the optics' reflection.
I couldn't call the textures finished until the graphic symbol was rigged and posed. For example, changing the position of the arms tin create new shadows and creases which I demand to manus-paint. I proceeded to create a basic skeleton for the character and a few bones for the facial expression.
Settling on a pose and the facial expression took a while. Eventually I settled on a specific console from the comic (Affiliate 01, folio 10), where the girl held a simple but strong pose. When the posing was finished, I could paint the shadows and ambient occlusion, considering I now knew which side of the limbs would face outwards.
The Environs
I call back an important part of selling your grapheme is presentation. Yous can spend hundreds of hours on a projection, only if you don't nowadays it correct, people will miss out on what yous fabricated. For this project I cared a lot about emotion and immersion in character, so I tried to have that into account when presenting. Calculation a simple pedestal wouldn't be very immersive, so I decided to create a small blithe forest environment around the daughter.
Retrospective
I have never done a hand-painting project this big, and it's safe to say it was quite a challenge. Getting all the materials to feel coherent while keeping the mitt-painted details consistent took a long fourth dimension.
Still, the biggest challenge was the face. The character is supposed to be an aroused and vehement immature woman. Yet, I needed to sculpt her in a neutral pose so the grapheme could be used in possible time to come scenes where she is conveying unlike emotions. In retrospect, I would've sculpted the character with her expression immediately, and then I could go the feeling of the scene from the beginning. I could ever resculpt the face if I need new expressions.
Afterword
If you got this far, thank you for reading! I hope this inspires you to make something new! You can detect me on Artstation and Twitter. Experience free to transport me a message if you lot have any questions!
Source: https://discover.therookies.co/2019/07/21/how-to-create-your-own-hand-painted-3d-characters/
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